Nonsense Lab
Toward a Kinoderm Aesthetics

November 17-18, 2012
Museum of Human Achievement
Austin, TX

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What if one’s gait could see?

Take Dziga Vertov’s concept of kino-eye and vision it anew in the age of gait-based detection and surveillance: the skin-as-camera. Think with others on questions of performance, politics and pedagogy as mobile subjects in the contemporary vision machine.

"Toward a Kinoderm Aesthetics" might be of interest to academics, artists, activists or others working with questions of moving bodies, visioning technologies, public spaces and politics in the common sphere. We encourage a variety of educational backgrounds, professional practices and personal experiences to enliven and enrich the weekend event.

This intensive workshop of research-creation will weave previous work by the Department of Biological Flow together with contemporary critical theory, embodied movement practices and consideration of cognate works by other artists. While a background in any of these areas would certainly be considered useful for the workshop, it is by no means a prerequisite for participation. One need only be interested in challenging discussions designed to catalyze potentials in one’s own projects thereafter.

Come play with us!

http://www.facebook.com/events/474843749204226/

Toward a Kinoderm Aesthetics

November 17-18, 2012
Museum of Human Achievement
Austin, TX

- - -

What if one’s gait could see?

Take Dziga Vertov’s concept of kino-eye and vision it anew in the age of gait-based detection and surveillance: the skin-as-camera. Think with others on questions of performance, politics and pedagogy as mobile subjects in the contemporary vision machine.

"Toward a Kinoderm Aesthetics" might be of interest to academics, artists, activists or others working with questions of moving bodies, visioning technologies, public spaces and politics in the common sphere. We encourage a variety of educational backgrounds, professional practices and personal experiences to enliven and enrich the weekend event.

This intensive workshop of research-creation will weave previous work by the Department of Biological Flow together with contemporary critical theory, embodied movement practices and consideration of cognate works by other artists. While a background in any of these areas would certainly be considered useful for the workshop, it is by no means a prerequisite for participation. One need only be interested in challenging discussions designed to catalyze potentials in one’s own projects thereafter.

Come play with us!

http://www.facebook.com/events/474843749204226/

Yayoi KusamaFireflies on the Water2002mirror, plexiglass, 150 lights and water281.9 × 367 × 367 cm

Yayoi Kusama
Fireflies on the Water
2002
mirror, plexiglass, 150 lights and water
281.9 × 367 × 367 cm

top:
Tosa Mitsuoki
Autumn Maples with Poem Slips
1675

-

bottom:
Sean Smith
Forensic Itch
2012
mixed media installation

Department of Biological Flow @
Generating the Impossible
Sense Lab, Mekoos/Montreal
July 2011

(please feel free to use the tools and materials provided to modify or edit the work in any fashion.)

Department of Biological Flow
Process Machine for Plant Activation (Homo generatus lepidopterae)
2011
performance

-

September 20, 2011
London, Ontario

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MISSION:

1. The two Department of Biological Flow particles will begin the process at opposite points on the circular orbit.

2. One particle begins walking around the circle counter-clockwise toward the other stationary particle, who holds the relay baton.

3. A camera will serve as the relay baton.

4. When the moving particle reaches the stationary particle it shall bump the stationary particle into motion along the same orbital trajectory.

5. The baton shall be passed backwards each time two particles collide.

6. The orbital velocity shall increase with each revolution until both particles are in motion, at varying speeds.

7. Once both particles are in motion the orbital velocity for either particle may decelerate, so long as the overall energy in the system stays relatively constant (ie. if one particle slows to a walk, the other must accelerate to a run).

8. The performance ends when the plant has been activated.

Department of Biological FlowTBA (Teneral Breathing Apparatus)from Imago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)April 28, 2011performance and archive

Department of Biological Flow
TBA (Teneral Breathing Apparatus)
from Imago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)
April 28, 2011
performance and archive

Department of Biological FlowImago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)April 28, 2011performance and archive

Department of Biological Flow
Imago (Kino-Butterfly · Someone Might Be Listening · Lorenz Security Ltd.)
April 28, 2011
performance and archive

Department of Biological Flow
ICQ (Inverted Cubofuturist Query)
[World Record Attempt]
forthcoming, 2012
performance

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Becoming-Insect

If contemporary explorations in the arts and sciences are increasingly turning to the insect world for inspiration, then we must inquire after the particular types of relations that we are describing in this valorization. Put differently, with the thousands upon millions of insect species currently flying, crawling and swarming over the earth, the non-human turn in art and philosophy can pretty much locate any metaphor it wishes in order to explicate a particular form of expression.

What are the particulars? Insects, in toto, offer very different tempos, life expectancies, modalities of movement, moments of articulation, et cetera, than we humans — perhaps we turn to them too readily to find new models for living? In our valorization of the insects and the corresponding non-human turn are we simply abdicating our responsibility for the capitalist regime that only we humans have created?

Do we seek to simply represent insects, or do we seek a becoming-insect towards a new consideration of ethics within the contemporary ecologies of the electric?

courage


companion species astral
projected. warm snores
detected, soft wear insected
tiny-light hairs coat
the tip of the Ear

~

hear to now
now to here, projection reflected
On-Star U-Turn protected. Drive-In
vision projected Thru to

our network nightmare
incisioned, dissected
narcosis

~

nightmores
eye osmosis

nightmades
black hole
nights made

three-eights hutong
nightshades, flipped to
white-knight bookshades
and sotto voce crossfades
i have a voice.

~

consent to consensus
slow turns meant us
courage slow spoken hence
(12 seconds or whence)

or half again the time
on that great-rodeo-bull
named Fear.

fear not the time
but instead the tone spoken.
steel-spokes broken
steeled, the moment stolen
from its hard bodied
captivity.

fluidity.
hard bodies swollen
steal moments spoken,
steel-toned broker
hard captive
in a time of Fear
not instead.

fluid, free
hard bodies soften
steal moments often
steel-timed breaker,
soft Rupture
and the time is Near

nightmere

~

nearly empty
but the common can’t merely
fill the Hannibal Lecter
coffee-machine. hot again,

ravenously angry
or hungry or thirsty,

dried canteen.

but the common can’t put
my mere lips to your cup
for the bars wiring-closed
our machine

(no chianti or fava bean)

ravenously
steeled, hot spokes spoken
half-life dipole broken
how many mere bars to
wire-close our mirror machine?

courage


companion species astral
projected. warm snores
detected, soft wear insected
tiny-light hairs coat
the tip of the Ear

~

hear to now
now to here, projection reflected
On-Star U-Turn protected. Drive-In
vision projected Thru to

our network nightmare
incisioned, dissected
narcosis

~

nightmores
eye osmosis

nightmades
black hole
nights made

three-eights hutong
nightshades, flipped to
white-knight bookshades
and sotto voce crossfades

i have a voice.

~

consent to consensus
slow turns meant us
courage slow spoken hence
(12 seconds or whence)

or half again the time
on that great-rodeo-bull
named Fear.

fear not the time
but instead the tone spoken.
steel-spokes broken
steeled, the moment stolen
from its hard bodied
captivity.

fluidity.
hard bodies swollen
steal moments spoken,
steel-toned broker
hard captive
in a time of Fear

not instead.

fluid, free
hard bodies soften
steal moments often
steel-timed breaker,
soft Rupture
and the time is Near

nightmere

~

nearly empty
but the common can’t merely
fill the Hannibal Lecter
coffee-machine. hot again,

ravenously angry
or hungry or thirsty,

dried canteen.

but the common can’t put
my mere lips to your cup
for the bars wiring-closed
our machine

(no chianti or fava bean)

ravenously
steeled, hot spokes spoken
half-life dipole broken
how many mere bars to
wire-close our mirror machine?